Since 2001, Trevor Lynch has developed a fervent following with his insightful and sometimes vicious dissections of philosophical, political, racial, and sexual themes in a wide variety of films and television shows. Trevor Lynch: Part Four of the Trilogy is his fourth anthology, covering thirty-three films, including two documentaries, plus two TV shows.
Lynch includes extensive essays on David Lynch's Blue Velvet and Lost Highway, as well as a shorter treatment of The Straight Story. He also offers detailed commentaries on Stanley Kubrick's Eyes Wide Shut, Akira Kurosawa's High and Low, Sidney Lumet's Network, Luchino Visconti's The Leopard, David Fincher's Fight Club, and John Huston's Wise Blood.
Other outstanding reviews interpret Martin Scorsese's The Aviator, Blake Edwards' Breakfast at Tiffany's, John Schlesinger's Far from the Madding Crowd, Anthony Minghella's The Talented Mr. Ripley, and Rene Clement's Purple Noon.
Lynch gives special attention to a number of films that convey politically incorrect messages, often in spite of themselves, such as American Pimp, Cabaret, Look Who's Back, Once Upon a Time in Hollywood, Quiz Show, Richard Jewell, Starship Troopers, and Storytelling.
Finally, Lynch hilariously pans Gattaca, the finale of Game of Thrones, Joker, and Star Wars: The Rise of Skywalker.
Trevor Lynch: Part Four of the Trilogy further burnishes its author's status as a leading New Right cultural critic.
Lynch includes extensive essays on David Lynch's Blue Velvet and Lost Highway, as well as a shorter treatment of The Straight Story. He also offers detailed commentaries on Stanley Kubrick's Eyes Wide Shut, Akira Kurosawa's High and Low, Sidney Lumet's Network, Luchino Visconti's The Leopard, David Fincher's Fight Club, and John Huston's Wise Blood.
Other outstanding reviews interpret Martin Scorsese's The Aviator, Blake Edwards' Breakfast at Tiffany's, John Schlesinger's Far from the Madding Crowd, Anthony Minghella's The Talented Mr. Ripley, and Rene Clement's Purple Noon.
Lynch gives special attention to a number of films that convey politically incorrect messages, often in spite of themselves, such as American Pimp, Cabaret, Look Who's Back, Once Upon a Time in Hollywood, Quiz Show, Richard Jewell, Starship Troopers, and Storytelling.
Finally, Lynch hilariously pans Gattaca, the finale of Game of Thrones, Joker, and Star Wars: The Rise of Skywalker.
Trevor Lynch: Part Four of the Trilogy further burnishes its author's status as a leading New Right cultural critic.
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